#pjo meta

Camp Half-Blood is a summer camp, and this in and of itself is significant. In a literary genre full of Training Academies and Magic Schools, the PJO books played with that literary convention in a way that is undoubtedly similar (group of Powered children being educated in supernatural ways), but unique - the world is not safe for them. They go to camp as a respite from the world. Camp is for fun and games and, most importantly, safety. Especially profound to me when the books are modeled around the theme of how neurodivergent kids struggle to navigate the school system. The goal of camp is actually not to train kids and send them out into the world. We learn this from Annabeth early on - she wants to go prove herself and she hasn’t been permitted. Because Camp is the only safe place in the world for kids like them. Sally tells Percy that sending him to camp might mean saying goodbye for good, and Annabeth connects the dots for us that this is because, unless he’s an unusually weak demigod, he won’t be able to live a normal life in the real world.

We’re also told “the real world is where the monsters are.” Literally true - but think of how this frames camp. The mortal, human, ordinary realm is what is “real.” Despite the fact that it’s really not ordinary at all- the supernatural world is still very much alive and real, outside the safe boundaries of camp. The Ordinary World and the Extraordinary World are popular fantasy concepts, and I think pretty self-explanatory. But what’s interesting about PJO is that they’re exactly the same, with one layered on top of the other and crosscurrents between the two that constantly interact. If monsters are part of the “real world,” then this posits camp as a break from the harsh realities of life.

The “real world” - the mortal world, the world beyond camp, is dangerous and scary to the campers, and specifically to Percy. That’s where his quest takes place, that’s where he faces all of his most arduous challenges and trials and obstacles. For a brief moment, he experiences camp as the Extroardinary World - full of magic, new challenges, where he must prove himself. But it doesn’t last long. By the end of his first real day there, he remarks, "We sang camp songs about the gods and ate s’mores and joked around, and the funny thing was, I didn’t feel that anyone was staring at me anymore. I felt that I was home." And thus he comes to see it the same way Annabeth introduced it to us - it is now to Percy (and by extension, to the reader) what is familiar, what is safe.

What's interesting about this though is that, again, it's a summer camp - it's not designed for kids to live year-round there, even though many of them do. There's no school for them to attend, there's not an adequate or healthy system of structure and discipline, there's not any means or even any hope of growing up. Because CHB is not meant to produce healthy, well-adjusted adults. Some use this as an example of poor worldbuilding, but I really don't think it is - I think it's trying to show us that camp is meant to be a vacation for kids who need to blow off steam. It wasn't supposed to replace healthy, stable homes or traditional education. It's getting used for a purpose that it was never intended to fill and it can't fill. These kids have no other options - they don't have healthy and stable homes, mortal schools do not accomodate their needs, and they have no choice but to stay there, because the world is so dangerous for them. The campers are stuck in this state of perpetual immaturity and adolescence because there is no clear path by which a demigod can become an adult, and the reason for this is simple: most of them don't live that long. This disharmony creeps into the illusion of the fun summer camp and ruins it. Once you see it, you can't unsee it - camp only exists because these kids have parents who can't be bothered to care for them, and most of them won't get to grow up. That reality is enough to make you go crazy, and that's why the conflict at the heart of this series is the kids revolting against their parents.

This motif of the "vacation from hell" is saturated in the rest of the books. As Percy tells us, "You deal with mythological stuff for a few years, you learn that paradises are usually places where you get killed." And we have many examples of this:

Waterland - once completely serviceable water park. Now abandoned, remodeled by godly antics to be a trap.

The Lotus Casino - a mythical version of a real place that people go on vacation - lures you in with the promise of every fun thing you could imagine, offers you anything you could desire. And it's a trap.

The Princess Andromeda - a cruise ship, that real families were using for vacation. One with real attractions and amenities! And it’s a trap.

Circe’s Island - a resort and spa, again, that women are literally using as a vacation. Another trap.

Polyphemus’ Island - “looked like a Caribbean postcard.” Its nature magic is so strong it has been luring satyrs to their deaths for centuries. In other words - it’s a trap.

Calypso’s Island - another beautiful paradise, and the source of Percy’s quote. While the threat to his life is nonexistent here, for her, it’s a prison. Yet another trap.

But. Again. The core of the motif is camp, and what it means for demigod life, and specifically what camp means to Percy.

At the end of Lightning Thief, Percy seriously considers living at camp year-round:

The decision should have been easy. I mean, nine months of hero training or nine months of sitting in a classroom—duh. But there was my mom to consider. For the first time, I had the chance to live with her for a whole year, without Gabe. I had a chance be at home and knock around the city in my free time. I remembered what Annabeth had said so long ago on our quest: The real world is where the monsters are. That’s where you learn whether you’re any good or not.

I thought about the fate of Thalia, daughter of Zeus. I wondered how many monsters would attack me if I left Half-Blood Hill. If I stayed in one place for a whole school year, without Chiron or my friends around to help me, would my mother and I even survive until the next summer? That was assuming the spelling tests and five-paragraph essays didn't kill me.

What is fascinating to me about this internal conflict is that for Percy, the outside world very much IS a scary and unpleasant place. He reflects on Annabeth's quote, but takes away the exact opposite of what she meant by it. Whereas she was excited for the challenge, Percy is afraid of it. He sees the mortal world as dangerous and he hates school. He only wants to go back because of his mother, and the city. And I think this is kind of profound - it shows you what makes Percy tick. What Percy really longs for is a sense of stability and normality - which are maybe worth the monster attacks. Maybe. He's unsure. He's so conflicted he waits until the very last day to make a decision. Because the decision is not really about where he wants to live - it's about which kind of world he wants to live in, and how he rationalizes his hopes for the future with the reality of how dangerous and scary his life is.

We see in the beginning of Sea of Monsters that camp very much does feel like a vacation to Percy. He wakes up on the morning of the last day of school, excited that "tomorrow, I'd be on my way to my favorite place in the world—Camp Half-Blood." His day sets off on a bad note because of his nightmare about Grover - notably, Sally knows something is off with him, but he doesn't get into it much, because, "We didn't talk much about the other part of my life. We tried to live as normally as possible." If it wasn't obvious enough already - Percy really struggles to integrate his demigod life with his "normal" life. He lives in two separate worlds and likes to keep the lines clean. Of course, that doesn't work out for him. And this is what it is to be a demigod - the mythical world and the normal world bleed into one another, whether he wants them to or not. I think he'd like it if camp could be fun, and the mortal world could be mundane. But in reality, both are dangerous - and the choice is only an illusion, as we will see when Thalia's tree is poisoned.

The physical destruction of camp becomes an expression of the conflict between demigods. Invaders get inside the once-safe walls. Further shattering the illusion of safety for the campers. Monster attacks get more frequent and more dangerous. Camp stops being fun. Notably, Percy specifically describes, "Instead of playing volleyball in the sandpit, counselors and satyrs were stockpiling weapons in the tool shed" and "camp felt like a military school. And believe me, I know. I've been kicked out of a couple."

These passages serve to remind us that, again, camp is usually fun. Yes, the campers train, and we're told many many times that camp teaches them how to survive. But it's not a military school, and this assessment sits at odds with Percy's primary association, and he finds it disturbing.

In the end, our heroes are able to return camp to the status quo, but not before everyone has to learn the very hard lesson that the magic borders of camp are the only thing that makes it possible for them to grow up and have any sense of safety.

And I think setting Titan's Curse in winter just compounds this effect, because we're confronted with a camp that is very different from the one Percy is used to. The weather is our primary clue: "I'd never seen Camp Half-Blood in winter before, and the snow surprised me ... I thought it would be warm and sunny, but instead the snow had been allowed to fall lightly." And like, in this case, the camp still has a very homey and festive vibe, it's not that there's anything wrong with it, per se - it's that, again, to Percy, camp is eternal summer vacation. So even if it's nice, the snow is 'off.'

We're also told they're losing campers - because demigods are joining Luke. And the emptiness of camp bothers Percy, too.

They still do most of their typical camp activities, but the effect is dampened by the mood of the campers, Annabeth's disappearance (obviously), and the time of year. The fact that Percy is at camp at all in the winter means the neat lanes of his life are converging - mortal and mythic world colliding, not able to be neatly separated anymore. Compounded by the fact that his mortal life is getting turned upside down, too: because his mom has a boyfriend now, and the dynamic at home is changing. I think Rachel Elizabeth Dare's introduction as a mortal girl who can see through the Mist also adds to the overall effect of the lanes getting muddled, as does the fact that Kronos' army is shown to be using mortal mercenary soldiers, now.

The illusion of safety at camp is mostly gone, too - foreshadowed by the couple mentions of Clarisse's mysterious absence that winter (looking for the Labyrinth entrance).

Which brings us to Battle of the Labyrinth.

At the start of this book, I think we see more of the lines of Percy's life starting to converge. Notably, Annabeth is coming "all the way from camp" to meet him in the city - this out of their usual dynamic. We can't miss that, because Sally doesn't let us. (and mind you, this roughly a 3 hour trip for Annabeth, so yes, it is extremely telling) And obviously, this signals to us that their relationship is changing - becoming more mature. It's outside the bounds of childhood now, and I'd wager there's also some significance that it's not just a camp crush, anymore - something that plenty of kids can relate to in real life. Percy and Annabeth have seen each other outside of camp before, but every instance that we have seen is them going to do some sort of demigod mission together - Annabeth picks him up in SOM on her way to camp, Percy picks Annabeth and Thalia up on their way to meet Grover in TTC, and that's it, otherwise. This is a reversal of that.

And then there's the role of Rachel Elizabeth Dare - which is essentially to lead the quest, despite being a mortal. Major reversal of expectations. There's also the fact that for the first time ever, we see Percy talk to Sally midquest! And he brings Annabeth with him! Sally is usually reserved for the first couple and last couple chapters of the books, but she gets a significant chunk of the chapter and an in-person convo right in the middle of the quest.

We also end this book in the mortal world - we don't usually follow Percy back home from camp, it ends when he's leaving. This time, we get an entire chapter in his "real life" at the end of the novel. Again, worlds blending - in a major way, with Percy seeing his godly dad and his mortal mom in the same room together, for the first time in his life (kinda beats you over the head with the symbolism, that one). But this time Percy is obviously carrying weight from what he's been through - "'You’ve had a rough summer,' [Paul] said. 'I’m guessing you lost someone important. And…girl trouble?'" Him ending his summer burdened and moody is unusual - camp is supposed to be the vacation, the mortal world is what's hard. That's reversed, now.

And we get this delicious line towards the end of the story: "I couldn’t decide which seemed less real—New York, or the crystal cave where I’d watched a god die."

But I think the biggest use of the motif is the stakes of the quest - the invasion route, straight into the heart of camp. When Luke's army comes through, it permanently shatters the illusion of camp being safe and fun, and instead turns it into a war zone. And we see that camp changes for Percy - irrevocably:

"That night was the first time I actually saw camp burial shrouds used on bodies, and it was not something I wanted to see again." - but of course, he will, next summer.

"I’d never been scared in the forest before, though I knew there were plenty of monsters. Still, I thought about yesterday’s battle, and I wondered if I’d ever be able to walk in those woods again without remembering the horror of so much fighting."

"The rest of the summer seemed strange because it was so normal. The daily activities continued: archery, rock climbing, Pegasus riding. We played capture the flag (though we all avoided Zeus’s Fist). We sang at the campfire and raced chariots and played practical jokes on the other cabins."

I think this makes an interesting juxtaposition with the end of SOM. The campers attempt to go back to normal summer activities, but it is tainted, now. For Percy, I'd argue that the illusion of summer camp is totally shattered, and this is the moment where he starts to associate camp with hardship, suffering, and responsibility that he's not fully ready for.

His love interests in this book each play a key role in how this develops. Annabeth is a demigod, Rachel is a mortal, and Calypso is an immortal. Percy goes to camp with Annabeth, he goes to school with Rachel - not exactly rocket science where he sees them fitting into his life, lol. And Calypso is escapism - quite literally represented through a "permanent vacation" - she reveals a path to him that he had never even considered before, one to immortality. Three paths emerge, for Percy: accept that demigod life sucks and face it anyway and in the process gain a unique home and a unique family, reject it outright and try to lead a normal life, or become immortal. And the last one might feel sort of out of place, right, because that's not a real option to most demigods - but it is, to Percy, so it matters that it rears its head in this book as a legitimate choice!

Percy associates Annabeth closely with demigod life and camp (and like, I mean, duh). Percy has always been open about how hard it is to be a demigod, but there was relief from the madness, they got to have fun together, he fit in and camp and had real friendships there, and it offered the only safety he could actually depend on. But now that's not true, anymore. Camp doesn't go back to feeling safe, now it just feels constantly heavy and exceptionally painful. It's exactly the same in his relationship with Annabeth:

Annabeth and I pretty much skirted around each other. I was glad to be with her, but it also kind of hurt, and it hurt when I wasn’t with her, too. I wanted to talk to her about Kronos, but I couldn’t do that anymore without bringing up Luke. And that was one subject I couldn’t raise. She would shut me out every time I tried.

“Listen, Annabeth—” I thought about Mount St. Helens, Calypso’s Island, Luke and Rachel Elizabeth Dare, and how suddenly everything had gotten so complicated. I wanted to tell Annabeth that I didn’t really want to be so distant from her. Then Argus honked his horn down at the road, and I lost my chance. “You’d better get going,” Annabeth said. “Take care, Seaweed Brain.” She jogged down the hill. I watched her until she reached the cabins. She didn’t look back once.

Annabeth is going back to camp. Her path is set, her mind is totally made up, she's not conflicted. She's not looking back, and he quite literally is.

Rachel serves a unique role in Percy's life - it's not as simple as "she represents the mortal world" I don't think, because she's got her own stuff going on. Rachel, like Percy, is conflicted about her place in the world, whereas Annabeth is not. They see a likeness in each other, and it forms the backbone of their friendship. She accesses the mythical world in him, finds an anchor through which to navigate it. And in so doing, she sort of serves as a foil for him, showing him just how unusual his life really is:

“... Look, I’m sorry I got you involved in this.” “No, you were right,” she said. “I can see the path. I can’t explain it, but it’s really clear.” She pointed toward the other end of the room, into the darkness. “The workshop is that way. The heart of the maze. We’re very close now. I don’t know why the path led through that arena. I—I’m sorry about that. I thought you were going to die.” She sounded like she was close to crying. “Hey, I’m usually about to die,” I promised. “Don’t feel bad.” She studied my face. “So you do this every summer? Fight monsters? Save the world? Don’t you ever get to do just, you know, normal stuff?” I’d never really thought about it like that. The last time I’d had something like a normal life had been…well, never. “Half-bloods get used to it, I guess. Or maybe not used to it, but…” I shifted uncomfortably.

The danger that is routine to Percy and Annabeth has a deep impact on Rachel, and she's scared for him. I think this empathy really means something to Percy, honestly - it's validating to have someone acknowledge his fear, when he's so used to stuffing it down.

Which brings us to Last Olympian!

This summer, Percy is actually calling up Rachel to avoid Camp - because his life has now fully reversed. It is August when we first find him, nearly at the end of the summer, and he's not at camp - because now camp is now the place that is stressful, scary, and dangerous:

"the more serious things got at camp, the more I found myself needing to call up Rachel and get away, just for some breathing room. I needed to remind myself that the mortal world was still out there, away from all the monsters using me as their personal punching bag."

In some ways, the camp hadn't changed. But you couldn't see the war by looking at the buildings or the fields. You could see it in the faces of the demigods and satyrs and naiads coming up the hill. There weren't as many at camp as four summers ago. Some had left and never come back. Some had died fighting. Others—we tried not to talk about them—had gone over to the enemy. The ones who were still here were battle-hardened and weary. There was little laughter at camp these days. Even the Hermes cabin didn't play so many pranks. It's hard to enjoy practical jokes when your whole life feels like one.

If you wanted to leave camp during the summer, it used to be you had to come up here to get a quest. This summer, that rule had been tossed. Campers left all the time on combat missions. We had no choice if we wanted to stop Kronos.

And the offer on the table to Percy at the beginning of the book? Whether or not he wants to go on vacation with Rachel.

I think it reads as kind of humorous that he ever even considered the offer - by the end of the next week, he's going to have jumped in the Styx, defended Manhattan, lead an army, fought Titans, and been offered godhood. It's kind of funny to imagine the possibility that he's actually just chilling on a beach in St. Thomas with Rachel. But of course, it's really not about the offer at all - nor did Percy ever seriously consider it, I don't think. It's more about what it represents:

"I seriously needed a vacation. This summer had been the hardest of my life. The idea of taking a break even for a few days was really tempting."

(Everyone pls remember that this poor kid is FIFTEEN YEARS OLD.)

Percy is struggling with responsibility, and he has always struggled with what it means to be a demigod. Rachel, too, is struggling, and her and Percy are currently coping in the same way. She literally tells him: "Let's pretend we're a couple of normal people."

This is presumably what Percy and Rachel have been doing together all summer.

But it's really not as simple as that, because Percy has also been doing combat drills and war training all summer. We're told about the mission with Beckendorf that Percy has been involved for weeks in the planning of the mission. When he goes to camp after the Princess Andromeda gets blown up, he alludes that, along with the other campers, he's been doing combat missions all summer, too.

I think it's a misconception that Percy just blew off camp completely - no, the picture we actually get is that he shows up for battle training and stays on call for missions, and then he leaves when it gets to be too much to handle. I think it kinda goes without saying that this is very much not like him, and it's specifically in here to show us that he's not doing well. And it's pretty obvious that he's not doing well, because even Chiron thinks he "needed a break with your... mortal friends." I think there may even be a chance that Chiron was the one who encouraged Percy to leave camp in the first place, because the kid is nothing if not committed to running himself into the ground.

It is also very clear that Annabeth is not doing well, either - but they're coping in different ways. Percy is saying that his "ADHD brain did not like concentrating on depressing stuff" (which has been amply demonstrated for us in canon!). Annabeth, on the contrary, appears to be hyperfixated on finding solutions - not doing her hair, forgetting to clean her bunk, wearing the same clothes every day - up to her eyeballs in Daedalus' laptop sorting through ideas that might help the war effort. (We're not actually told what, specifically, she's been sorting through - but her immediately recognizing Athena's reference to "plan 23" gives you a pretty good clue as to why she's so absorbed in the laptop).

And I think this is the core of what their fighting is really about that summer - yes, obviously her jealousy over Rachel, and the fact that they can't agree on Luke. But I think it's pretty clear that Annabeth associates herself so closely with camp and the demigod world that she takes Percy's avoidance personally. And of course, there's the fact that him ditching her in favor of a mortal (her perspective - I don't think that's what's actually happening, and the fact that he's here having this argument with her is proof to the contrary) puts pressure on her childhood wounds. So while him bringing up Rachel is what triggers the argument, the content of it is actually largely about camp and their differing perspectives on how to cope with the war stress:

"We'll just have to be ready." "How?" I said. "Look at our camp. We can't even stop fighting each other. And I'm supposed to get my stupid soul reaped." She threw down her scroll. "I knew we shouldn't have shown you the prophecy." Her voice was angry and hurt. "All it did was scare you. You run away from things when you're scared."

Yeah yeah I get it she's mad he won't ask her out and good for her. But there's more than just that!

Underneath that - or maybe inextricably tied to it - is her being frustrated that he's so cynical about camp, and that he's no longer optimistic about surviving the war. Annabeth is a lover and fighter - it's been her personal mission to save Luke and Percy since she was 12 years old. She's trying to be optimistic about their chances - and I think in a very real way she needs to believe this. She says they'll "have to be" ready - I think that's very in line with how our Hubris Girl sees the world. I have no other option, so therefore, I will make it happen.

Percy's default response, on the other hand, is toward depression and isolation and pessimism. And she's had to watch him choose that all summer - wallowing, from her perspective. And he kind of is - Percy has actively resisted making a choice about the Styx for an entire year at this point. We already know from the Lightning Thief that deadlines aren't real to him until he's staring one in the face. Percy struggles with choosing to be an active participant in demigod life - he wants to avoid it, and yet he cannot, because his loyalty compels him to fight for his friends.

Which is why Annabeth's final lines in this fight are the most significant of all:

"If you don't like our chances," she said, "maybe you should go on that vacation with Rachel." "Annabeth—" "If you don't like our company." "That's not fair!"

This exchange succeeds in: allying Annabeth with camp, implying Percy still has not made up his mind about the kind of world he wants to live in, and challenging Percy on whether or not he's finally ready to face his responsibilities.

And I actually think Percy's kind of right here: it's not really fair to ask him this, considering he has yet to not come through. He's given everything he can to the war effort, how is it fair to accuse him of this?

But I think it's more about how he sees himself - is Percy merely a victim to the perils of demigod life (he's not fighting the war, the war is fighting him), or is he, like Annabeth, someone who is choosing to be here, choosing to walk the hard line of a heroes journey not just because she has to, but because she wants to?

This challenge has such an effect on Percy that he actually initiates the start of the war himself: "To get this war started. It's time I found Luke."

I think you could argue that Percy didn't actually have a choice in whether or not to step up to the plate. But that's only because, fundamentally, he is a hero, and he is a demigod. He just didn't know how to accept it, before.

In this book, the mask gets pulled off camp completely, when Chris Rodriguez says, "There's no point in defending camp if you guys die. All our friends are here."

To Percy, camp has represented many things - safety, home, vacation, danger, training, friendship. And that's because camp is just a place for kids like Percy, who need to reconcile two different aspects of their nature, and live in two worlds despite not fitting perfectly into either. Camp's not really about vacation, and it never was - it's really about family. A family that is messy, and complicated, represented by it's strange collection of cabins that don't fit well together - a family Percy has always struggled very much to accept that he's part of.

The choice that has been built up over the course of the series is, naturally, to hand Luke the knife. But Percy gets another monumental choice that truly encapsulates his journey:

"I thought about the Three Fates, and the way I'd seen my life flash by. I could avoid all that. No aging, no death, no body in the grave. I could be a teenager forever, in top condition, powerful, and immortal, serving my father. I could have power and eternal life. Who could refuse that? Then I looked at Annabeth again. I thought about my friends from camp: Charles Beckendorf, Michael Yew, Silena Beauregard, so many others who were now dead. I thought about Ethan Nakamura and Luke. And I knew what to do."

And this takes us right back to the beginning, actually.

Because Percy never wanted to be a half-blood. Being a half-blood is dangerous. It's scary. Most of the time, it gets you killed in painful, nasty ways. And we've got a list of names here that are proof of that. And Percy never wanted to be one in the first place.

But he chooses to stay that way!

IMO these are the biggest unresolved plot points: Hazel's curse, Frank's curse, Frank's destiny and bringing his family full circle (it's in there, technically, but it happens OFF PAGE and is written to be a disappointment!), Percy's sacrifice that he is unable to make requiring Frank to intervene (also technically in there, just bad), the oath to keep with final breath (bc Leo's promise to Calypso does not work as fulfillment).

So in SON, Percy and Hazel and Frank latch onto each other and form an extremely tight bond despite the imminent threat of death hanging over all three of them. Frank is the leader of this quest, he knows all three of their lives are at risk, he has already lost his mother, and his grandmother is also dying. But Mars tells him:

“Self-pity isn’t helpful, kid. It isn’t worthy of you. Even without the family gift, your mom gave you your most important traits—bravery, loyalty, brains." “Life is only precious because it ends, kid. Take it from a god. You mortals don’t know how lucky you are.” "Duty. Sacrifice. They mean something."

Now initially, Frank is disgusted by his father, and he resents his mother's sacrifice because it left him alone. And Frank will tell Percy, about Hazel:

“She’s my best friend,” Frank said. “I lost my mom, my grandmother…I can’t lose her, too.”

But as the story unfolds he will come to grips with what Mars is telling him:

Frank understood what he had to do to break those chains. Mars had warned him. He’d explained why he loved Emily Zhang so much: She always put her duty first, ahead of everything. Even her life. Now it was Frank’s turn. His mother’s sacrifice medal felt warm in his pocket. He finally understood his mother’s choice, saving her comrades at the cost of her own life. He got what Mars had been trying to tell him—Duty. Sacrifice. They mean something. In Frank’s chest, a hard knot of anger and resentment—a lump of grief he’d been carrying since the funeral—finally began to dissolve. He understood why his mother never came home. Some things were worth dying for.

So in this narrative, it is Frank's turn to be in his mother's position. He's directly risking his own life. He's also putting Hazel's life at risk. But he ALSO makes peace with his mother's sacrifice, the loved one that he has been grieving for the whole narrative. (doesn't mean he isn't still going to grieve, of course - but that he can make peace with her choices).

Ok. So that's Frank's arc in SON. He also gets a prediction from Mars about Percy (in the same convo, mind you) that has THREE different components:

Percy Jackson? He’s too loyal to his friends. He can’t give them up, not for anything. He was told that, years ago. And someday soon, he’s going to face a sacrifice he can’t make. Without you, Frank—without your sense of duty—he’s going to fail. The whole war will go sideways, and Gaea will destroy our world.”

SO. 1. Percy will refuse to make the sacrifice 2. Frank's sense of duty - the sense of duty that accepts people making sacrifices for the sense of duty, even if it's your own mother - is the only thing that can prevent Percy from making this mistake and 3. The stakes of this moment are world-ending. Ok.

For this reason, Mars tells Frank that Gaea is more worried about him than Percy or Jason or the rest of the seven - Gaea thinks she can control Percy, and, in line with the prediction, she's right; she can control him.

You get a delicious little taste of this when Percy bets his life, relying on Gaea to save him over Phineas. Gaea wants Percy alive, not just because she wants his blood to wake, but because she's waiting to exploit his flaw and when she does she knows he's going to fail and she knows that it will come at the exact time when it matters the most. Ok.

Meanwhile, Hazel is on this quest with Percy and Frank knowing that freeing Thanatos means he will take her back to the Underworld and she does not want to go. Percy knows that Hazel does not want to go and he tells her - he promises her, in fact - that he will not allow this to happen:

“You’ll make it back, too, Hazel,” he insisted. “We’re not going to let anything happen to you. You’re too valuable to me, to the camp, and especially to Frank.” Hazel picked up an old valentine. The lacy white paper fell apart in her hands. “I don’t belong in this century. Nico only brought me back so I could correct my mistakes, maybe get into Elysium.” “There’s more to your destiny than that,” he said. “We’re supposed to fight Gaea together. I’m going to need you at my side way longer than just today. And Frank—you can see the guy is crazy about you. This life is worth fighting for, Hazel.” She closed her eyes. “Please, don’t get my hopes up. I can’t—”

It is absolutely critical that Hazel does not conceal to Percy that she does not want to die again.

Percy will repeat the sentiment to Frank:

“I’m not going to lose either of you,” he promised. “I’m not going to let that happen. And, Frank, you are a leader. Hazel would say the same thing. We need you.”

So here's Percy, inadvertently affirming everything Mars said about him - telling Frank point blank that he cannot lose Hazel or Frank and he WILL NOT let that happen and then saying he needs Frank. Truer than he realizes.

All this to say:

Frank comes to grips with duty in a way that is so powerful that I believe he could allow Hazel to sacrifice her life again. But Percy doesn't. And while Percy's fatal flaw has a loophole that allows him to make peace with sacrifices, again, Percy knows that Hazel does not want to die again - so the loophole won't work this time. He would fight Frank tooth and nail. Frank would hate himself, but if Hazel needed to die to prevent Gaea from rising, again - I think the most logical conclusion and resolution for both Frank and Percy's arcs as set up here is that Frank would let her, and Percy wouldn't.

And like I'm gonna be so real when I say that for the record that I hate this and I don't want Hazel to die and it would have been absolutely gutting in the worst way possible. It's so beautiful that Hazel's story is that she was forced to be a protector to her mother too soon and too young but these boys adore her and they take her and they will fight Death to keep her. And so I'm not going to let her sacrifice herself again, but I think we need to feel the fear of it, because it makes the most sense narratively for Hazel to die:

She is currently cheating death - her dad decides to let her get away with it. But for how long? We're not told. She herself doesn't know. Thanatos is released, but the Doors of Death are still open at the end of SON. So while she escaped this time, the threat of going back to the Underworld should still be Very Very Real for her.

Her powers were exploited by Gaea to make possible Gaea's rise to power in the first place. She is the first demigod contact, Gaea’s first appearance in our story timeline is to Hazel (by a long shot). This was set in motion before any of our other heroes were born, before Kronos woke. In a very real way Gaea is Hazel’s nemesis, Hazel’s unfinished business. I think it would only make sense that Hazel views it as her responsibility (although I don’t think it is - it makes sense for her to take ownership of the conflict). This war is uniquely personal to Hazel.

But the good news is that there's something beautiful that was set up in MOA: the Hazel/Sammy/Leo connection. And I think we could use this to save her.

 “Thanks for being there, Sammy.” “Miss Lamarr, I will always be there for you!” he said brightly.

“That lady, Doña Callida, she warned me.” Sammy shook his head sadly. “She said Hazel’s great danger would not happen in my lifetime. But I promised I would be there for her. You will have to tell her I’m sorry, Leo. Help her if you can.”

So Hera appears to Sammy and tells him about Hazel’s destiny, Sammy doubles down on his oath to Hazel to be there for her and passes it down to Leo.

okay do you see it yet do you see it yet…… do you see where all this could have been going….

What's really interesting about this connection is that it seems that because Gaea made contact with Hazel, Hera made contact with Sammy, and because Hera made contact with Sammy, Gaea made contact with Leo. Because Gaea made contact with Leo, Esperanza Valdez dies in a fire. Leo feels responsible for this fire, knowing that he lost control of his powers. This links Hazel and Leo even more, because both of their mothers are killed by Gaea indirectly - the direct cause of their mothers' deaths is actually Hazel's powers and Leo's powers.

Meanwhile, back to Frank!

While Hera is putting Leo in fireplaces to sleep, Hera is coming out of fireplaces to give Frank's mother a piece of firewood that his life is bound to. Frank is told that "as long as it is safe, you are safe."

To free Thanatos, Frank sets it on fire himself and quite literally comes to terms with his own mortality:

He thought he understood his powers at last. Something about watching the firewood burn, smelling the acrid smoke of his own life, had made him feel strangely confident. Is it fair your life burns so short and bright? Death had asked. “No such thing as fair,” Frank told himself. “If I’m going to burn, it might as well be bright.”

but he doesn't die. But then he gets told by Thanatos:

“As for you, Frank Zhang, it isn’t your time, either. You’ve got a little fuel left to burn. But don’t think I’m doing either of you a favor. We will meet again under less pleasant circumstances.”

(IGNORE toa it's irrelevant to this conversation! We don't write new series to retcon unsatisfying character endings around here!!!!!!!!!)

So two things: Hazel is included in Thanatos' next meeting. Thanatos is gonna see Frank AND Hazel under less pleasant circumstances. Less pleasant than army of the undead, Death being chained, unkillable giant, btw. Fun.

Ok and then in Mark of Athena we get Leo reflecting on a possible explanation for what Thanatos could have meant:

Leo thought about his least favorite line in the Prophecy of Seven: To storm or fire the world must fall. For a long time, he’d figured that Jason or Percy stood for storm—maybe both of them together. Leo was the fire guy. Nobody said that, but it was pretty clear. Leo was one of the wild cards. If he did the wrong thing, the world could fall. No… it must fall. Leo wondered if Frank and his firewood had something to do with that line. Leo had already made some epic mistakes. It would be so easy for him to accidentally send Frank Zhang up in flames.

Also consider that Frank gave his stick to Hazel for safekeeping in SON and MOA, but then he takes it back from her in HOH, deciding he wants to be responsible for his own destiny:

“I’ll keep it,” Frank said. Hazel pursed her lips. She looked down, maybe so Frank wouldn’t see the hurt in her eyes. She’d protected that firewood for him through a lot of hard battles. It was a sign of trust between them, a symbol of their relationship. “Hazel, it’s not about you,” Frank said, as gently as he could. “I can’t explain, but I—I have a feeling I’m going to need to step up when we’re in the House of Hades. I need to carry my own burden.” Hazel’s golden eyes were full of concern. “I understand. I just…I worry.”

Frank feels in HOH that because Leo gave him a fireproof pouch he doesn't need to fear fire anymore. The dumbest resolution I've ever heard of, btw.

So. Anyways. Moving onto BOO with all that foreshadowing in place -

We're going to axe the physician's cure completely because the quest for it was incredibly boring and it's a deus ex machina type solution that removes all stakes from the final conflict.

We're going to remove Reyna and Nico's POVS and have the Seven each get one in this book.

We learn from Hazel's POV that now that the Doors of Death have been closed her days are numbered and she has like 30 of them left, and she doesn't tell anyone about this deadline. Bonus points if Hecate told Hazel this was going to happen before she went to close them and she went anyway for Percy and Annabeth. We're going to explore her feelings of unfinished business and responsibility. We're going to include her very complicated feelings about going back to the Underworld and knowing so many dead people and feeling like a ghost herself some days. We also need to hear more about Sammy, and she needs to talk to Leo about Sammy, and I think she should even tell Leo that she thinks it would be nice to see him again, and Leo's antenna goes up and he's like "you're not thinking about doing something stupid, are you, Hazel?" And of course she will deflect, but Leo is going to be the only one who sees through her facade for what it really is. And I think it should be horrifying like I think she should be having nightmares about standing in Asphodel that feel endless and I think when she sees her dad again she should get a very private breakdown moment with him and I think she should want and try to blame him for all of this but then see the sorrow in his eyes and realize that all of his demigod children are children plucked out of time and he's been trying to play the prophecy game to keep them alive and he doesn't have any cards left to play. And I think he would try to comfort her that "it won't be like the last time. You'll see Elysium" and perhaps he'll even hint at rebirth for her. And Hazel, who is so, so tired, of running, of fighting, of not being safe, of too much being asked of her - tries to make herself believe that this is okay, that this will be enough. And I also think we should get a bunch of absolutely devastating lines in Hazel's last couple chapters as she's saying goodbye to her friends one by one but she's not telling them that's what she's doing and she reflects that "it really was a nice life. A short life - even shorter than the first. But a good life." Wow I'm making myself so emo just thinking about it

We learn from Frank's POV that the ancestor who has been waiting for him is the Argonaut he is descended from, whose life was also tied to a piece of firewood (yes so the one he's descended from is a different guy than the firewood guy but these are pretty obscure stories anyway and Rick does retcon myths a lot so we're just gonna roll them into one guy). The Argonaut gets to tell us the story of his life - he was in a boar hunt competition, the heroine Atalanta wins the competition bc she draws first blood on the boar. His uncles are enraged that a woman won the contest and so the Argonaut kills them both, his mom is so mad at him for doing this that she chucks his firewood on the fire and he dies. I actually think this convo could have some humor to it, where Frank is like ".....and you're telling me this, because?" and the Argonaut laughs and tells him that he's too Roman, not every story has a neat little moral. Sometimes the moral is that life sucks and then you die. But then he gives us like a little teaser that's going to come back later, like "or maybe the moral is, some things are worth dying for." Frank will immediately note this as something his dad said to him in Son of Neptune, and perhaps he'll have some reflection on Greeks and Romans not being so different after all and maybe we even get like an emotional moment where Mars and Ares stop shouting at each other in his head. I think this would work well bc it would give the reader an easy explanation for why this scene is in the book without making us necessarily think that Frank's plot is headed towards sacrifice. Also important to me tho that Frank is super disturbed by this conversation bc he was really hoping for a solution to his firewood problem and he thought that was the point of being called back to his ancestors, but then he realizes that he doesn't have a solution and the only precedent is that the guy died. Ok.

Ok. Now, Leo and Jason and even Piper's plot and role to play can be essentially the same, like it does make sense actually to separate Gaea from the earth and cut her into tiny pieces bc of the precedent set by Ouranous. I just think that every demigod in the Seven should be included in the plot and all of them need to be involved in the planning on How to do it. And they concoct a plan for all their different positions, we get a nice callback to Kronos and his three brothers holding Ouranous down and we deal out a different responsibility to each one of the Seven. Like Percy's supposed to be at one corner helping Jason maintain the storm, Jason using his storm powers to separate Gaea from the earth, Hazel using her earth powers to hold the earth DOWN so it doesn't reach up to Gaea once she's held up, I think Frank should be supposed to turn into a dragon again or something to help Jason fly Gaea up, Piper can be still using charmspeak trying to weaken Gaea, I think Annabeth should take point on covering all of them so they can do their jobs (and I think this would be a good plot for Hubris Girl, needing to come to terms with this role being the least flashy, but no less necessary, and choosing it without shame. I also think that she should reunite w/ her mom and get some such resolution there but then realize that she doesn't actually need it because she has nothing to prove to Athena anymore and she gets to be freed from her unyielding desire to be Exceptional, at least a little. And I also think she should get a cool moment where she gets an army to direct bc she certainly has the chops to do it).

Anyways. They're going to talk about this plan in a LOT of detail so that the reader knows the precise moment when everything goes completely off the rails.

For one, Hazel's deadline is coming up, so her plan is to take Gaea down with her and spare the lives of her friends. I think we can even get a moment of Hazel telling Gaea in a dream that she vows to take her down with her last breath. And again we should really FEEL how much Hazel hates Gaea, for everything she did to her mother and put Hazel through. It should feel Personal. Hazel plans to do this the same way she killed Alcyoneus, using her powers to like rip Gaea's heart right out of her chest or some other such extremely metal and crazy thing. But unfortunately she made the mistake of threatening Gaea with this bc she is SO ANGRY at her.

For two, Leo is also planning to blow Gaea up the same way that he does in canon, as revenge for his own mom and refusing to let Gaea take another loved one from him. But his plot is significantly less subtle bc he needs to be like collecting explosives lol so that's how Gaea knows about it. I think we should also get Leo telling Gaea that he's going to take her down 'if it's the last thing i do' so again now we're terrified for Leo and know his death is coming.

So anyway when Gaea finally wakes she's going to be infinitely more terrifying than we ever could have conceived of and we should get immense feelings of powerlessness from the demigods, I think this should perhaps come from Jason or Piper's perspectives. But they have to Try, right? What other option is there?

Except that Gaea is going to tell everyone about Hazel's plan and Leo's plan and then it's going to dissolve into complete pandemonium.

For one, Gaea is going to direct this at Percy specifically bc, as we know, she thought she could control him and she was right. She'll give him a choice about whether or not he wants to proceed with The Plan still and Percy will give up his territory and let Gaea have it. And she'll start cackling like she's already victorious. Should be an extremely dramatic and huge moment. Percy is going to completely lose it - like fracturing the ground storm winds pushing Hazel away from Gaea kind of lose it. And Hazel will be sobbing trying to explain that it's the best way, can't he see that it's the best way, Frank is going to have to like full bodily tackle Percy to the ground otherwise the rest of the six of them will be literally incapable of Going Ahead With The Plan. Bc Frank still thinks this plan is going to happen and it's going to work, lol.

But it's very important to me that in the Chaos of all of this happening, Leo's explosive devices get taken beyond his reach of them so he has no firepower. And this is in Leo's perspective so you feel like horrible horrible despair. But then he locks eyes with Hazel across the battlefield and he realizes that no problem doesn't have a solution - if the two of them work together, Hazel can hold the earth apart & Leo can generate enough explosive power on his own to vaporize Gaea. But he kind of knows it's a long shot, it's not going to work, but he has to Try. They just need to find each other and get to the middle of the battlefield where Gaea is.

Simultaneously Jason and Piper and Annabeth are busy trying to keep Gaea at bay and forge ahead with The Plan lol but obviously it's not working and everything is falling to pieces and the Despair is setting in.

Meanwhile Percy and Frank are having a Family Dispute and Percy is so absolutely livid with Frank that he cannot see what has become clear to everyone else, that The Plan was never going to work, Gaea always knew that someone was going to need to die, and how dare Frank how DARE he let that person be Hazel, like I'm so serious it should be like Percy is screaming "HOW COULD YOU DO THIS TO HER" at the top of his lungs and Frank is sobbing as he's fighting him. Ok.

But then Frank gets this sense of battle calmness. And even though Percy is like going completely unhinged, Frank can hear the truth in what he's saying. He's going to assess everyone as they're fighting and realize that the effort is futile, that they don't have enough firepower to stop her, and he's going to realize his entire life has been leading to this, since the day Juno came out of the fireplace and handed his mom that stupid stick. And he also knows that Percy is right - he cannot let Hazel die for this cause again. And he also knows that some things are worth dying for.

So Frank Zhang, "good old Frank, who always seemed to show up when needed," who does not have the strength to transform anymore to fly across the battlefield, notches an arrow (he always was good with a bow), attaches his fireproof pouch to it, and sends it across the chaos to Leo Valdez. And Leo Valdez, who knows exactly what this means, uses every ounce of strength that he has ever possessed and sets that stick ablaze, right in Gaea's face.

Screaming, Chaos, Tragedy, Heartbreak, Earthquakes, and then silence - just silence. Leo is gone, but Frank's body hits the ground with a thud. Somehow, even with his ears ringing from the explosion, it's the loudest noise Percy has ever heard.

Ok.

So anyway the falling action from this sequence is going to have to be like at least a quarter of the book lol bc it's so traumatic. I don't think there's ever going to be any way that Percy is like ever again okay in his life lol but Mayhaps he and Ares can agree to bury the hatchet and Percy can find like some sense of peace that in Frank's final moments he did what he wanted to do. And at least he gets like some comfort from being reunited with Sally and Grover and Rachel and getting to visit home again. But I think the only person who is really going to be able to get through to Percy is Hazel and they can have a sweet moment where Hazel gets to refute all the things that Percy like Will Never be able to forgive himself for.

And Hazel Levesque, dear Hazel gets to live a second time, not just because she 'got thru the deadline' but bc Frank gave his life for hers. I think Thanatos himself comes to collect Frank's body and he explains his to her. And she also has the realization that Leo kept Sammy's oath to be there for her with his final breath.

Juno explains to someone probably Jason that it was always going to end this way. And I think we get the sentiment repeated yet again that death is not fair. Duty, honor, sacrifice - they mean something. No such thing as fair.

Anyways I think they should have a huge co-Greek Roman memorial service and the peace treaty should be named after Frank and Leo somehow.